WORKING   DRAWINGS 


»f 


COLONIAL   FURNITURE 

by 

FREDERICK  J.  BRYANT 

SUPERVISOR  OF  MANUAL  ARTS 
AUBURN,  MAINE 


THE  MANUAL  ARTS   PRESS 

PEORIA,  ILLINOIS 


*  «T8     5 


COPYRIGHT  1922 
FREDKRICK  J.  BRYANT 

23H31 


Printed  in  Hie  United  Stales  of  America 


b!3 

c/x 


PREFACE 

of  the  increasing  demand  for  woodworking  pro- 
jects embracing  the  designs  of  the  famous  masters,  Chippen- 
dale, Hepplewhite,  and  Sheraton,  the  author  has  endeavored 
to  secure  dimensioned  sketches  and  photographs  of  old 
fashioned  furniture.  While  this  collection  does  not  represent  the 
highest  types,  there  are  features  in  all  which  merit  distinction.  Only 
those  which  could  be  copied  by  junior  and  senior  high-schooii  students 
have  been  considered.  Nothing  has  been  added  to  or  detracted  from  the 
original  measurements. 

It  is  hoped  that  these  drawings  and  illustrations  will  afford  an  inspi- 
ration for  instructors  and  students.  For  reference  work,  Woodwork 
for  Secondary  Schools,  by  I.  S.  Griffith,  (The  Manual  Arts  Press, 
Peoria,  111.)  will  prove  of  great  value. 

While  this  book  is  designed  for  use  in  the  schools,  it  need  not  be  so 
confined.  Its  scope  and  practical  treatment  should  fit  it  for  the  use  of 
all  who  enjoy  the  pleasure  of  creating  things  of  wood. 

Acknowledgment  is  made  to  the  magazine  The  House  Beautiful  for 
the  use  of  one  of  the  illustrations. 

FREDERICK  J.  BRYANT. 


Auburn,  Maine,  July  1921 


IN  SUCH  A  HOUSE  COLONIAL  FURNITURE  is  FOUND 


CONTENTS 

PAGE 

GATE-LEG  TABLE 7 

SHERATON  CARD  TABLE 10 

SHERATON  WORK  TABLE 12 

SHERATON  BREAKFAST  TABLE 14 

TAVERN  TABLE 16 

MAHOGANY  TEA  TABLE 18 

HEPPLEWHITE  WORK  TABLE 20 

HEPPLEWHITE  CARD  TABLE 22 

EMPIRE  CARD  TABLE 24 

MAHOGANY  Tip-Top  TABLE 26 

GRANDFATHER  CLOCK 31 

BANJO  CLOCK 36 

WINDSOR  CHAIRS 38 

HEPPLEWHITE  CHAIR 44 

EMPIRE  CHAIR 46 

COLONIAL  LOOKING  GLASS 48 

OLD  FASHIONED  MIRROR 50 

WOOD  FINISHING 52 


GATE-LEG  TABLE  AND  BANNISTER-BACK  CHAIR  BELONGING  TO   THE   OLIVER   FAMILY,  SCARBORO,  ME. 
DATE  BACK  TO  1680.     PASSED  DOWN  IN  FAMILY  FOR  EIGHT  GENERATIONS 


GATE-LEG  TABLE 

DUE  to  the  present  popularity  of  period  furniture  designs,  the 
demand  for  gate-leg  tables  has  almost  become  a  fad.  Thousands 
of  reproductions  have  been  made  and  the  style  has  been  highly  featured 
in  magazines  and  books  of  recent  publication.  During  the  Colonial 
days  the  tables  were  often  made  of  oak.  William  Penn  owned  one  of 
this  kind.  Later  models  were  made  of  walnut  and  maple.  Most  of 
them  are  now  made  of  mahogany,  walnut,  gum  and  birch.  Those 
made  of  other  woods  like  poplar  or  whitewood  and  pine  are  often 
finished  in  tones  of  ivory,  cream  or  gray,  with  decorative  patterns 
stenciled  on  the  top  surface. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


To  reproduce  the  table  shown  on  these 
drawings,  turn  the  legs  and  stretchers  on 
the  lathe.  Cut  out  the  stock  to  dimen- 
sions for  other  parts  of  the  table  and  then 
proceed  with  the  assembly  of  the  end 
frames.  Cut  the  notches  and  glue  up  the 
two  gates.  Locate  and  bore  the  pivot 
centers  and  cut  the  notches  on  the  cross- 
rails  and  long  stretchers.  It  is  advisable 
to  put  the  rest  of  the  table  together,  using 
clamps,  but  no  glue.  This  is  to  see  if  all 
parts  are  properly  placed  and  if  the  gates 
are  hung  correctly.  Testing  with  a  steel 
square  will  help  to  check  up  the  work.  If 
the  table  frame  and  gates  all  rest  evenly 
on  the  floor,  either  in  open  or  closed 


position,  the  joints  are  ready  for  glueing. 
A  drawer  24"  deep  is  made  to  slide  in  on 
one  end,  and  a  drawer  pull  similar  to 
No.  2  on  page  28  should  be  used.  All 
the  joints  are  mortised  and  tenoned  and 
also  doweled.  The  appearance  of  dowels 
on  the  outside  is  not  objectionable  on 
gate-leg  or  tavern  tables.  The  top  is  oval 
in  shape  and  has  beaded  edges  to  match 
the  leaves.  Plain  butt  hinges  are  fastened 
to  the  underside  of  the  leaves  and  table 
top.  The  finish  is  one  of  choice  and 
depends  largely  on  the  kind  of  wood  used 
to  make  the  table.  The  original  one  is 
made  of  maple  and  is  stained  a  dark 
brown  color. 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


GSITE  LEG  TABLE 

r/?OM  SCARBORO,  MAINE 
AS/IDE  ABOUT  /6QO 


PLAH  SECTION  THROUGH  /I~B 


PLATE  I 


GATE-LEG  TABLE 


/"/fcw  section,  one 
end,  fop  removed 


LEG   TABLE 

MADE  ABOUT  /68O 


PLATE  II 


SHERATON  CARD  TABLE 


IN  many  instances  it  is  rather  difficult  to  distinguish  the  difference 
between  Hepplewhite  and   Sheraton  designs.     Sheraton  published 
a  book  in  1791  and  another  in  1804.    He  no  doubt  was  influenced  by 
the  designs  of  Hepplewhite.    His  early  work  was  much  better  than 
that  which  appeared  near  the  close  of  the  eighteenth  century. 

DIRECTIONS   FOR  MAKING  THE  TABLE 


In  some  respects  this  table  is  similar  in 
construction  to  the  one  on  page  23.  The 
legs  instead  of  be- 
ing square  are  round 
and  reeded,  or  flut- 
ed, as  it  is  often 
called.  To  make  a 
reproduction  of  this 
table,  first  cut  four 
pieces  of  mahogany 
for  the  legs.  Two 
of  these  pieces 
should  have  a 
quarter-section  re- 
moved so  that  they 
can  be  easily  fas- 
tened to  the  table 
frame  on  the  front 
side.  Temporary 
pieces  can  be  glued 
into  these  places 
while  the  legs  are 
being  turned  on  the 


attach  it  to  the  posts  in  a  like  manner. 

All  this  can  be  done  while  the  legs  are 
in  the  lathe  which 
will  hold  them  se- 
curely. Be  sure  to 
have  the  ends  of 
both  paper  strips  in 
line  with  each  other, 
and  then  connect 
the  points  on  the 
upper  strip  with 
corres  ponding 
points  on  the  lower 
one,  using  a 
straight-edge  about 
17"  long.  Draw  the 
lines  with  a  sharp 
point  and  pass  over 
each  line  a  number 
of  times.  Take  two 
thin  pieces  of  steel 
and  shape  them  like 


lathe.  The  reeding  can  be  done  by  hand. 
Mark  off  a  strip  of  paper  into  twelve 
equal  parts,  the  paper  being  long  enough 
to  pass  around  the  post  where  the  reed- 
ing commences.  Paste  this  strip  on  the 
wood  at  that  point.  Prepare  another 
paper  for  the  lower  end  of  the  legs  where 
the  reeding  stops  and  after  dividing  this 
piece  into  the  same  number  of  parts, 


A  SHERATON  TABLE  WHICH  is  OWNED  BY  WILLIAM 
GERRISH,  OF  SACO,  MAINE 

Fig.  13  on  page  29. 

Hold  each  one  as  firmly  as  possible  and 
deepen  the  lines.  A  few  strokes  on  each 
one  will  develop  the  reeds  which  can  be 
sandpapered  afterward. 

The  back  legs  are  made  up  the  same 
as  the  front  legs  except  that  they  are 
square  at  the  upper  end  where  the  rails 
are  attached.  The  frame  of  the  table 
is  much  like  that  of  the  Hepplewhite 


SHERATON  CARD  TABLE 


ajm  emu* 

MAHOGANY 


P/IHEL.  /NLAYS  OF  CURLY 
M/IPLE  AMD  DARK  GRAINED 
MAHOGANY  /IRE  BORDERED 

ONE-HALF  INCH  STRIPS 
0/=-  CROSS  GRAINED  MAHOGANY. 


FOR  HINGE  DETAIL.  SEE 
DRSJW/NG  Or  EMP/ftE  PERIOD 


DOTTED  i-INES    SHOW 
SUPPORTING  POSIT/ ON 
OF  POST  "D"  WHEN 
TOP  L £AF  /S  DO  IV/V 


0     I     St     3     *     S    f>      7     e     9    IO    ~ll     12 


<S ME  RATON  G/tftD  TABLE 
PORTLAND,  M/UNE 
ABOUT  /8OO 


PLATE  III 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


table,  page  23.  The  rails  are  pine 
with  heavy  pieces  glued  on  the  front 
and  two  ends.  Mark  out  the  curves 
which  are  shown  on  the  drawing  and 
band-saw  close  to  the  lines.  Save  the 
waste  pieces  and  use  them  as  cauls  when 
glueing  the  veneers.  The  satinwood  or 
maple  marquetry  panels  should  be  glued 


in  place  and  the  borders  afterward. 
These  borders  are  ^"  wide  and  are  for 
the  front  only,  so  the  end  rails  must  be 
veneered  with  mahogany.  The  hinges 
are  the  same  as  shown  in  Fig.  10,  page 
29.  The  top  is  made  up  in  two  parts.  The 
lower  one  is  plain  and  the  other  is  inlaid 
along  the  edge. 


SHERATON  WORK  TABLE 

THIS  is  the  one  table  in  this  collection  of  drawings  which  should 
be  the  stepping-stone  for  the  more  difficult  projects.    It  is  quite 
small,  has  good  lines  and  can  be  slightly  modified  from  the  drawing. 

It  is   suggested   that   this    table  be 
made  first  by  the  student  if  he  con- 


templates the  making  of  any  of  the 
card  tables. 


DIRECTIONS   FOR  MAKING 
THE  TABLE 


Before  turning  the  legs,  cut  out  a  quar- 
ter-section of  the  four  legs  down  6$4,"  from 
the  top  and  glue  in  temporary  pieces.  Locate 
the  centers  accurately  on  the  lathe  and  turn 
down  the  wood  to  the  proper  dimensions. 
The  table  will  look  much  better  if  the 
legs  are  reeded  as  described  on  page  10. 
When  the  legs  are  finished  the  table  frame 
can  be  put  together.  To  attach  the  legs, 
remove  the  temporary  pieces  and  they  can 
be  screwed  to  the  frame.  A  drawer  with 
a  veneered  front  should  be  made.  The 

picture  shows  a  wooden  knob  on  the  front.  This  should  not  be  copied  as  it  is 
not  the  original  and  belongs  to  a  later  style  which  developed  near  the  close 
of  the  Empire  period.  A  drawer  pull  similar  to  No.  n  on  page  28  is  suggested 
for  the  reproduction. 


A  SHERATON  WORK  TABLE  WHICH  is  EASY  TO 
REPRODUCE,  OR  WHICH  MAY  BE  MODIFIED 


SHERATON  WORK  TABLE 


SHERATON  IVoff/f 
FROM  Buxro 
MADE  /laour  /82O 


PLATE  IV 


SHERATON  BREAKFAST  TABLE 

THIS  table  is  one  of  very  pleasing  lines  and  is  not  a  difficult  pro- 
ject to  make.  While  it  is  termed  a  breakfast  table,  there  is  no 
reason  why  it  cannot  find  an  appropriate  place  in  any  room.  The 
characteristics  of  a  table  of  this  kind  consist  of  the  drop  leaves,  which 
are  held  up  by  wooden  brackets  that  swing  under  the  top.  It  is  made 
of  mahogany  and  has  some  inlay  on  the  outer  edges  of  the  legs  and 
border  strips  of  inlay  can  be  found  along  the  lower  edges  of  the  rails. 

DIRECTIONS   FOR  MAKING  THE  TABLE 


Plane  up  the  stock  for  the  legs,  making 
the  tapers  as  shown.  These  should  stop 
within  4//2//  of  the  top.  It  is  advisable  to 
cut  the  mortises  before  doing  any  inlay 


THIS  SHERATON  BREAKFAST  TABLE  CAN  BE  PUT  TO 

A  VARIETY  OF  USES.     IT  WAS  NAMED  "PEMBROKE" 

TABLE  BY  SHERATON,  AFTER  THE  LADY  FOR  WHOM 

THE  FIRST  ONE  WAS  MADE 

work  as  the  lines  may  be  injured  in 
handling.  The  cross-rail  in  the  rear  is 
mahogany  and  the  side-rails  are  made  of 
pine  with  maple  facing,  part  of  which 
consists  of  the  wooden  hinges.  Section 
d — B  on  the  drawing  of  the  Hepplewhite 


card  table,  page  23,  shows  the  details  of 
such  hinges. 

Inlaying  the  legs  with  white  holly 
lines  is  an  easy  process.  An  ordinary 
marking  gage  with  the  spur  sharpened  as 
shown  in  Fig.  12  on  page  29  will  cut  and 
clean  the  grooves.  The  corners  can  be 
cleared  by  scoring  lines  with  a  sharp 
knife  and  removing  the  wrood  with  the 
tang  of  a  small  file  previously  sharpened. 
Apply  glue  to  three  sides  of  the  inlay  and 
press  it  firmly  into  the  grooves.  The 
handle  of  a  bench  knife  is  useful  for  this. 
Remove  enough  wood  for  the  insertion  of 
the  oval  centers  near  the  top  of  the  legs 
and  glue  in  place,  using  a  clamp  on  each 
one.  After  they  are  dry,  remove  the 
clamps,  carefully  score  and  cut  out  the 
wood  for  the  white  holly  border.  These 
oval  centers  can  be  made  by  cutting  out 
thin  sheets  of  dark  grained  mahogany.  If 
the  veneer  is  dampened  it  will  not  crack. 

If  it  is  not  possible  to  secure  the  ebony 
veneers  for  the  bands  around  the  lower 
ends  of  the  legs,  a  fine  imitation  can  be 
made  by  knifing  the  lines  around  the  legs 
and  then  applying  two  or  more  thin 
coats  of  black  shellac.  The  lines  must  be 
cut  deep  enough  to  prevent  the  color 
from  running  over  the  edges. 


SHERATON  BREAKFAST  TABLE 


Hinge  open 


Chamfer 


Section  A- B 


Handmade  3c, 

Sect  ion 
fhrouyh  side 
rails. 


i      '/ 

/?    "*>^_  Mople  hinge  for 
i — \-y*~Sf>elf  Support- 


Detail  of 
fnlar  on  the 


four  Sides 


Inlay  on  out- 
side surfaces 
only 


tt 


Drawer 
2O"  Deep 


/**'- 


In/ay 


aE: 


/c%'/7  ^  /^  «%/ 

of  fab'e. 


Handmade  3cre* 
Section /• 


fn/aid  Oi/al 
White  holly  border 
Dorx  groin  mahooony 
center^  same  onbo+h  ends 


INLAID  SHERATON 
PEMBROKE  BREAKFAST 
TABLE.  MADE  ABOUT  1770 


gca/e    /2.  /nches 


PLATE  V 


TAVERN  TABLE 


T 


IAVERN    tables   are   among  the   early   types   developed    in   this 
country  and  are  eagerly  sought  for  by  collectors  of  the  antique. 


Reproductions 
mon  and  are 
modern  home, 
were  generally 
tops  and  maple 
ers,  and  painted 
color.  The  pres- 
to follow  the 
improve  the  fin- 
higher  grade 
the  staining  and 
the  same  as  for 
Dark  shades 
well  as  light 
if  the  wood  used 
tion  is  of  the 
specified  in  the 


OLD    TAVERN   TABLE    DISCOVERED    AT    BUXTON, 

MAINE,  BY  THE  AUTHOR.     IT  WAS  MADE 

ABOUT  1720 


are  quite  corn- 
desirable  in  the 
The  old  tables 
made  with  pine 
legs  and  stretch- 
in  almost  any 
ent  tendency  is 
same  design  and 
ish  by  using  a 
cabinet  wood, 
finishing  being 
any  other  table, 
may  be  used  as 
ones,  especially 
in  the  reproduc- 
same  kind  as 
drawing. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


Glue  up  the  stock  for  the  top  and  while 
it  is  drying,  the  legs  can  be  turned  on  the 
lathe.  Make  a  full  size  lay-out  of  the  end 
view  of  the  table  to  determine  the  angles 
needed  for  the  jointing  of  the  cross  rails 
under  the  top  and  the  stretchers  below. 
Ail  the  joints  of  the  frame  are  mortised 
and  tenoned  and  doweled.  After  the 
frame  is  put  together,  the  top  can  be  set 


in  place  as  shown  on  the  drawing,  or  the 
more  modern  way  of  fastening  from  the 
under  side  can  be  used.  In  the  latter 
case  the  cleat  is  not  essential  but  should 
be  used  to  carry  out  the  eifect.  It  also 
may  prevent  the  table  top  from  warping 
out  of  shape  due  to  the  long  overhang 
which  extends  beyond  the  sides  of  the 
table  frame. 


OLD  TAVERN  TABLE 


Detail  of  L  e.o. 


PLATE  VI 


MAHOGANY  TEA  TABLE 

THIS  drawing  introduces  another  style  which  was  very  much  in 
evidence  during  the  Colonial  days.  Because  of  its  singular 
form  and  beauty  it  is  one  of  the  best  of  the  period  designs.  Mahogany 
is  used  throughout  and  the  only  inlay  used  is  found  along  the  edge  of  the 
top.  The  tripod  base  on  this  table  is  often  called  "snake  foot"  which 
distinguishes  it  somewhat  from  the  shape  of  the  base  on  the  tip-top  table. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


It  will  take  a  piece  of  mahogany  about 
21"  square  to  make  the  top.  A  heavy 
paper  pattern  of  one  side  of  the  top  can  be 


TEA  TABLE  WITH  "SNAKE  FOOT' 
BASE 


used  to  make  the  outline  the  same  on  all 
sides.  The  top  may  be  cut  to  shape  on  the 
band-saw.  Smooth  up  the  edges,  and 
then  with  a  sharp  marking-gage  score  two 
lines  around  the  edge.  Remove  the  wood 


between  the  two  lines  and  glue  in  the 
inlay  border.  If  it  shows  any  signs  of 
cracking  on  the  corners,  dampen  it.  Rub 
the  inlay  firmly  with  the  handle  of  a  knife 
and  wipe  off  any  superfluous  glue. 

The  pedestal  should  now  be  turned  on 
the  lathe.  Any  dimensions  needed  can  be 
scaled  from  the  drawing.  Be  sure  to 
include  a  i"  pin  on  the  upper  end  of  the 
pedestal.  This  is  for  the  square  maple 
block  which  is  placed  on  top.  Measure  up 
2$4"  from  the  lower  end  and  make  a  fine 
line  with  a  pair  of  dividers.  This  line 
limits  the  highest  position  of  the  three 
feet.  Parts  of  this  line  will  show  when  the 
table  is  assembled,  but  it  is  present  on  all 
tables  of  this  kind. 

Take  a  sheet  of  cardboard  and  rule  it 
off  in  2"  squares,  and  from  the  drawing 
reproduce  the  curves  which  form  the 
outline  of  the  feet.  Allow  W  for  the 
dovetails.  Cut  out  the  pattern,  trace  it  on 
wood,  having  the  grain  run  the  longest 
way  and  band-saw  the  pieces.  Now  taper 
the  legs  and  round  over  the  upper  sur- 
faces. A  small  thin  piece  of  wood  is  glued 
to  the  base  of  each  foot.  To  cut  the 
dovetails  on  the  pedestal  and  locate  the 
feet  proceed  as  follows:  Take  a  narrow 
strip  of  paper  equal  in  length  to  the  cir- 


18 


MAHOGANY  TEA  TABLE 


t=b 


Method  of  making 
dowel  for  hing/ny 
table  top 


Method  of 
fastening  legs, 


Ebon/and 
ty/>/'fe  hoi  I/ 
inlay  on  edge 


MAHOGANY  TEA  TABLE 

FROM   QOFfHAM,  MAINE. 

MADE  ABOUT  i?6O. 


PLATE  VII 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


cumference  of  the  post  and  space  it  off  into 
three  equal  parts  with  a  pencil.  Paste  the 
strip  around  the  post  and  transfer  the 
marks  on  the  wood.  Now  place  the  ped- 
estal in  a  horizontal  position  in  the  vise 
and  with  a  rule,  draw  lines  thru  these 
points.  These  are  center  lines.  Measure 
from  them  on  each  side  jH?"  and  draw 
lines.  The  next  step  is  to  flatten  these 
places  where  the  feet  are  to  be  dove- 
tailed. Lay  out  the  dovetails  on  the  ends 


of  the  post  and  the  flattened  area;  and 
make  up  the  joints.  Glue  the  feet  in 
place.  Make  the  cleat  for  the  underside 
of  the  top;  also  a  maple  block  5"  square 
with  a  i"  hole  thru  the  center  and  two 
pivot  pins  on  the  ends,  as  shown  on  the 
drawing.  Locate  the  top  so  that  it  will 
swing  down  directly  in  front  of  one  of  the 
legs.  The  table  will  not  tip  over  so  easily 
if  made  this  way.  A  metal  catch  locks  the 
top  down  when  in  a  horizontal  position. 


HEPPLEWHITE  WORK  TABLE 

THIS  table  is  made  of  mahogany  and  has  the  usual   amount   of 
inlay.    The  shape  and  design  identify  it  with   the  Hepplewhite 
period.    Like  the  card  table,  the  legs  are  tapered,  inlaid  and  banded 
near  the  bottom.   There  is  one  compartment  on  each  end  and  a  drawer 
in  the  center. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


Follow  the  general  directions  for  mak- 
ing the  Hepplewhite  card  table  on  page  22. 
Make  a  drawer  for  the  middle  of  the 
table  and  place  what  inlay  is  needed.  Cut 


made  or  obtained,  the  curve  can  be  band- 
sawed  from  thicker  material.  The  bottom 
is  set  in  on  the  underside  and  is  %" 
thick.  The  ebony  bands  around  the 


mortises   on   the   ends   of   the   posts   to     bottom    of    the  posts    are    essential    to 


connect  the  half-circle  .compartments 
with  the  main  frame.  Five-ply  stock  is 
used  for  the  ends  and  if  this  cannot  be 


this  particular  piece  of  furniture  and 
directions  and  suggestions  are  given  on 
page  14. 


HEPPLEWHITE  WORK  TABLE 


HEPPLEWHITE  WORK-TABLE. 
FROM  AUBURN, MA/NE. 
MADE  ABOUT    JJQS. 


PLATE  VIII 


HEPPLEWHITE  CARD  TABLE 

MANY  who  are  interested  in  antiques  consider  Hepplewhite's 
designs  to  be  the  best.  He  published  a  book  in  1789  called, 
The  Cabinet-maker  and  Upholsterer's  Guide,  or  Repository  of  Designs  for 
Every  Article  of  Household  Furniture  in  the  Newest  and  Most  Approved 
Taste.  His  chairs,  sideboards,  and  tables  represent  his  best  efforts. 
They  are  graceful,  beautifully  inlaid  and  delicate  in  appearance. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


Plane  and  taper  the  four  posts  and 
inlay  the  front  and  outer  surfaces.  Stop 
the  inlay  about  3"  from  the  bottom  and 
copy  the  ebony  border  which  is  shown  on 
the  drawing  of  the  Breakfast  Table  on 
page  14.  If  the  ebony  veneer  cannot  be 
obtained,  follow  the  suggestions  offered  on 
that  page.  The  directions  for  inlaying 
are  the  same.  Use  well  seasoned  pine  or 
other  soft  wood  for  the  rails  which  are  to 
be  veneered.  Dovetail  the  joints  where 
the  movable  post  is  and  glue  corner  blocks 
to  further  strengthen  the  frame.  Two 
heavy  pieces  of  pine  are  glued  and 
screwed  to  the  front  posts  and  end  rails. 
The  back  rail  of  pine  is  reinforced  with  a 
piece  of  maple  (see  Fig.  9  on  page  29) 
half  of  which  is  mortised  to  the  movable 
post  and  hinged  about  midway.  The 
remaining  half  is  fastened  to  the  table 


frame.  A  detail  of  the  wooden  hinge  can 
be  found  on  the  drawing,  Section  A — B. 
Use  sheet  veneer  to  cover  the  pine  rails 
and  after  it  is  dry,  part  of  it  can  be  cut 
away  for  the  border  which  passes  along 
the  lower  edge.  Use  a  marking  gage  with 
a  spur  as  shown  in  Fig.  12  on  page  29  to 
cut  the  grooves  for  the  inlay  lines. 

The  table  top  is  made  up  in  two  parts. 
The  first  one  is  plain  and  has  no  inlay. 
It  extends  %"  beyond  all  parts  of  the 
frame  and  posts  and  has  a  concave  bevel 
on  the  under  side.  The  other  has  a  square 
edge  and  a  narrow  inlay  border  as  shown 
in  the  detail.  The  hinges  are  made  of 
brass  and  are  placed  on  the  ends.  For 
dimensions  see  the  drawing  of  the 
Empire  Card  Table  on  page  25,  and  Fig. 
10  on  page  29.  For  detail  of  inlay  at 
the  lower  end  of  the  legs,  see  plate  V. 


23 


HEPPLEVVHITE  CARD  TABLE 


HEPPLEWHITE  CARD  TABLE 
-zz  4-" 


Section 
show/ng  the 
Top  and  L  eaf  h/nyed  together. 


Section  J{~ 
J)etai/  of  Hinge 


/te/tf//  showing  edje 
of  Top  Leaf 


PLATE  IX 


EMPIRE  CARD  TABLE 

THE  Empire  style  followed  the  passing  of  the  Hepplewhite  and 
Sheraton  designs.  It  is  very  easy  to  distinguish  from  the  others. 
Sweeping  curves,  heavier  construction  and  some  carving  can  be  found, 
which  are  the  characteristics  pertaining  to  this  type.  The  early  designs 
of  the  Empire  are  excellent,  but  the  later  ones  were  often  made  too 
heavy  and  after  1830  the  style  was  gradually  lost  in  the  ugly  shaped 
black  walnut  with  which  we  are  all  so  familiar. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


The  only  departure  from  ordinary 
cabinet  work  in  the  making  of  this  table 
is  to  prepare  the  four  mahogany  legs  with 
the  spiral  or  helical 
curves.  After  the 
posts  are  turned, 
the  spirals  can  be 
marked  on  the  post 
by  laying  out  the 
pitch  which  is  6^ 
inches.  A  paper  pat- 
tern of  thecurve  can 
be  used  to  develop 
the  lines  on  the  sur- 
face of  the  legs.  To 
do  this  take  a  sheet 
of  drawing  paper 
which  is  about  7" 
wide  and  cut  it  6^" 
long.  Draw  a  line  in 
the  center  of  the 
paper  perpendicular 
to  the  newly  cut 


end.  At  one  end  of 
the  paper  measure  the  distance  equal  to 
the  circumference  of  the  leg  where  the 
spiral  is  to  start,  as  at  A — B,  taking  one 
half  the  distance  in  each  direction  from 
the  center  line.  Now  measure  the  cir- 
cumference of  the  leg  at  C,  and  apply  this 
measurement  to  the  lower  end  of  the 
paper  in  a  similar  manner.  Connect 
points  on  the  lower  end  with  correspond- 
ing points  on  the  upper  end  and  cut  on  the 


EMPIRE  TABLE  MADE  ABOUT  1800.    THE  TOP  is 
PIVOTED  AS  SHOWN  IN  DRAWING 


lines.  Now  cut  the  paper  on  a  diagonal, 
and  either  one  of  the  pieces  thus  produced 
may  be  wrapped  around  the  leg  and  a 
line  drawn  on  the 
diagonal.  This  line 
will  indicate  the 
spiral  to  be  cut. 
Shift  this  templet 
into  a  new  position 
for  each  of  the  five 
spirals  to  be  cut. 
Continue  the  lines 
to  the  lower  end. 
Indent  these  lines 
with  a  sharp  point 
and  file  to  a  depth 
of  y%"  and  round 
over  the  edges  to 
conform  with  the 
cross-section  shown. 
Finish  the  process 
with  sandpaper. 

The     posts     are 
mortised  to  the  rails 


which  are  pine.  These  are  veneered  with 
cross-grained  mahogany.  A  compartment 
is  built  in  on  one  side  of  the  table  and  can 
only  be  reached  by  raising  the  table  top. 
A  wooden  knob  acts  as  a  pivot,  passing 
through  a  cross-piece  which  is  mortised 
into  the  long  rails.  (See  Fig.  8  page  29). 
Both  table  tops  are'  ^"  thick  and  are 
rounded  over  along  the  edges.  The 
hinges  are  of  brass. 


EMPIRE  PERIOD  CARD  TABLE 


-5 


M 


,'Vr 
U*J 


,M 


Hr\ 


•33- 
-J2 


^*- 


o>to 
05 

I 


whet 


accessib/e  only 

fofis  are  dow/?. 


/6 


a 


il 


Ver?eer. 


J2^L L 


4 


A' 


C/IXP 
/^rom  < 
Made  /8OO~/820 


PLATE  X 


MAHOGANY  TIP-TOP  TABLE 

THIS  table  is  of  a  later  period  than  the  tea  table  shown  on  page  1 8. 
In  reproducing  this  table  in  the  Auburn  high  school,  the  drawing 
has  been  somewhat  modified  in  order  to  obtain  a  more  graceful  curve 
in  the  design  of  the  legs.  The  outer  edges  were  rounded  over  in  some 
cases  and  white  holly  lines  were  inlaid.  These  lines  were  Vie'7  from  the 
edge  and  2 "  up  from  the  bottom  and  I "  down  from  the  upper  end 
where  the  legs  fit  into  the  standard. 


DIRECTIONS   FOR  MAKING  THE  TABLE 


Lay  out  and  cut  the  shape  of  the  top  on 
a  piece  of  prettily  grained 
mahogany.  Prepare  a 
piece  of  satinwood  or 
curly  grained  maple  to 
be  used  for  the  center 
of  the  marquetry.  Set 
it  in  place  on  the  top 
and  scribe  around  it 
with  a  knife.  Now  care- 
fully remove  the  wood 
between  the  lines  and, 
with  a  router,  level  the 
place  so  that  when  the 
center  is  glued  its  top 
surface  will  be  flush  with 
the  top  of  the  table. 
When  it  is  dry  score 
knife  lines  around  it  and 
cut  the  groove  for  the 
border.  Miter  the  cor- 
ners. 

Take  the  top  over  to 
the  circular  saw  and  cut 
away  space  for  the  X" 
border.  The  cut  should 
be  equal  to  the  thick- 
ness of  the  veneer  and 
inlay.  The  next  step  is 


MAHOGANY  Tip-Top  TABLE,  INLAID  IN 
MAPLE  AND  SATIN  WOOD 

26 


to  glue  the  white  holly  line  along  the 

inner  edge.     Next  place 

the  cross-grained  veneer 
in  position.  The  corners 
must  be  mitered.  Now 
even  up  the  outer  edge 
on  the  saw.  After  the 
work  has  been  allowed  to 
dry  thoroughly,  a  narrow 
groove  can  be  cut  on 
the  saw  along  the  edge 
for  the  outside  white 
holly  lines.  Use  the 
same  pattern  in  this 
groove  as  was  placed 
around  the  marquetry. 
The  pedestal  can  now 
be  turned  on  the  lathe 
and  the  locating  of  the 
three  feet  is  done  the 
same  way  as  for  the 
mahogany  tea  table 
described  on  page  18. 
The  shaping  of  the  feet, 
making  the  maple  block 
and  the  cleats  are  all 
mentioned  in  the  same 
project  and  can  be  ap- 
plied to  this  one. 


MAHOGANY  TIP-TOP  TABLE 


-7 


MAHOGANY  TIP-TOP  TABLE 
From  Portland,  Maine 
Made   about    /30O 


PLATE  XI 


28 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


CHIPPENDALE  ijeo  a.  HEPPLCWHITE 


or 

„•>-  COLONIAL  FURNITURE 

HANDLES  USED  ON  THE 
CHIPPENDALE,  HEPPLEWHITE,  SHERATON  AND  EMPIRE  STYLES. 

IQOO-IQIO 


PLATE  XII 


GENERAL  DETAILS  OF  CONSTRUCTION 


Sheraton  Breakfast 
Table  Detai/ show- 
ing /  oca  f ion  of  hinge 
on  drop /ea  res 


r*±±: 

i  LttJ 

t 

*h 
1 

i 

I 

*N 

1 

FIG  8 

e  Card  Table.     S*7et/iod  used  to  /ocatc 
cefi-ter-    on  anr  table    iv/'th  rero/r/nq  fop 


f~'lG.9. 
Wooden  hinoe    on  bacn   of  Cord  Tot>/es 


FIG.  II 


En/oryed  view  of 
5pur  bo/fit  On  rnortr~ 
>'ny  f"if«  used  for  /'n/af/'no. 


F/G  /O. 

Cor  of  Table  H/nye.  f^or  measurements  see 
Cf/~oty//y    of  Empire  Cord  Tab/e 


Old  Fashioned  Mirror. 
Method  for  holding  two 
pieces   together  for  turn- 
in  Q  on  the  lathe. 


\U$e#ifirst 


Hack  saw  blades 


o 


Banjo  C/OCH.  Method  used 
n  9/ueifij  up  stock  for 


Sheraton  Card  Table  Pain  I* 
used  for  rccdiny  /ejs 


/VG./6 


Bonjo  C/oot. 
thod  showng 
scroll  pattern  fasten- 
d  on  board  for  strength. 


PLATE  XIII 


GRANDFATHER  CLOCK 

TALL  clocks  like  old  fashioned  furniture  can  be  traced  by  studying 
the  design  of  the  case  and  the  works.    The  first  ones  were  made 
with  square  shaped  hoods  or  bonnets,  dating  as  early  as  1700.    Later 
models  were  made  with  movements  which  have  moving  figures  of  ships, 


boats,  or  a  minia- 
different  phases, 
these  extra  parts, 
added.  Up  to  the 
lutionary  War  most 
were  made  of  brass 
England.  For  some 
was  not  possible  to 
and  so  American 
their  works  of 
these  clock  makers 
Connecticut. 
Harland,  and  Whit- 
the  manufacturers, 
for  clock  peddlers 
country  and  sell 
works.  Quite  often 
simply  hung  up  on 
more  money  was 
cabinet  maker  was 
a  case.  This  is  one 
hardly  any  two 
alike.  The  best 


OLD  FASHIONED  GRANDFATHER  CLOCK 


ture  moon  in  her 
To  make  room  for 
the  arched  top  was 
time  of  the  Revo- 
of  the  clock  works 
and  imported  from 
time  afterward  it 
secure  any  more 
clockmakers  made 
wood.  Most  of 
were  located  in 
Terry,  Hoadley, 
ing  were  some  of 
It  was  the  custom 
to  ride  around  the 
these  wooden 
the  movement  was 
the  wall  and  when 
available,  the  local 
called  in  to  make 
of  the  reasons  why 
cases  can  be  found 
cases  were  made  of 


mahogany  with  very  elaborate  carving  and  inlaying.  The  cheaper 
cases  were  generally  made  of  pine  and  either  painted  or  grained  to 
imitate  the  better  cabinet  woods.  Some  very  beautiful  cases  with 
brass  movements  were  made  by  the  leading  clock  makers  and  can  be 
found  running  in  perfect  order  today. 

DIRECTIONS   FOR  MAKING  THE    CASE 


This  project  is  so  large  that  it  will  be 
better  to  regard  the  making  of  the  case  as  a 
separate  undertaking.  A  complete  case  of 
mahogany  will  cost  a  little  more  but  will 
be  much  more  valuable.  On  the  other 
hand,  by  using  well  seasoned  stock  a 


veneer  of  l/i"  can  be  placed  on  all  outside 
surfaces.  To  start  the  case,  shape  up  a 
board  for  the  back  if  wide  and  6'-8><" 
long.  Work  out  the  outline  and  then  build 
on  the  sides  which  have  the  heavy  cleats 
4"  along  the  upper  edges.  Put  on 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


the  front  which  also  has  a  cleat.  Now 
place  the  long  sides  7%"  wide  and  fasten 
them  securely  to  the  back  of  the  case  and 
to  the  cleats.  On  the  inside,  place  corner 
blocks  every  12"  apart.  These  sides  stop 
1324"  from  the  top.  The  long  narrow 
pieces  on  each  side  of  the  door  are  2^4" 
wide  and  extend  3"  above  the  upper 
moulding.  Notch  them  before  fastening 
to  the  case  and  mortise  the  cross  rails 
above  and  below.  Quarter-round  mould- 
ings fit  into  the  notches  and  thin  pieces  of 


wood  or  brass  should  be  located  at  the 
ends.  Fluted  or  reeded  corners  will  look 
better  than  the  plain  style  which  is  shown 
on  this  case.  Make  up  all  the  mouldings 
as  shown  in  the  sections.  A  cross  rail  is 
found  just  above  the  bonnet  moulding  on 
the  case  and  is  jointed  to  the  2%"  stiles. 
Wooden  supports  are  placed  on  the  in- 
side of  the  case  to  hold  the  works.  The 
floor  of  the  case  is  made  of  heavy  stock 
owing  to  the  strain  that  may  be  brought 
to  bear  upon  it  due  to  a  falling  weight. 


DIRECTIONS   FOR  MAKING  THE  BONNET 


The  bonnet  will  prove  to  be  a  more 
difficult  undertaking.  As  the  sides  are 
only  5/X6"  thick  it  will  be  easier  to  make 
the  arch  first  and  join  the  sides  to  it. 
Commence  where  the  round  columns 
stop.  Band-saw  a  piece  of  i"  pine  stock 
with  an  outside  radius  of  7"  and  an  inside 
radius  of  $%".  Dovetail  both  ends  of 
this  piece  as  shown  on  Plate  XV.  The  front 
crown  is  of  one  piece  igj/z"  long  and  has 
a  7"  radius  on  the  outside  and  5fi" 
radius  on  the  underside.  It  will  take  a 
piece  of  wood  2^£"  thick  to  make  the  arch. 
If  the  front  surface  for  a  thickness  of  ^" 
is  mahogany,  the  rest  of  the  material  can 
be  made  of  pine.  This  will  permit  shap- 
ing out  the  moulding  without  cutting 
thru  into  the  pine.  Sections  C — D  and 
Y,  Plate  XV,  give  the  details.  These 
can  be  worked  out  with  a  few  gouges 
and  sandpaper.  The  front  and  rear 
arches  are  connected  with  similar  shaped 
mouldings  10"  long  and  mitered  on 
the  front  end  and  dove-tailed  at  the 
rear.  The  top  of  the  bonnet  is  covered 
with  thin  strips  of  wood  which  are 
reinforced  with  a  piece  of  canvas  or 
drilling.  A  mat  of  mahogany  S/^"  thick  is 
set  behind  the  door  and  is  glued  to  the 
inside  edge  of  the  front  arch  (see  Section 
C — D).  The  joints  are  half-lapped  at  the 


top  and  bottom  and  the  width  of  the  mat 
is  14^  inches.  Now  get  out  the  base 
moulding  of  the  bonnet  (section  R,  Plate 
XVI)  and  the  sides.  Connect  the  base, 
sides  and  arch,  and  put  in  the  back  corner 
pieces  and  quarter-round  corners.  The 
round  columns  belong  on  the  front.  Brass 
caps  and  bases  hold  them  in  place.  The 
door  is  made  of  mahogany  y$"  thick  with 
mitered  corners.  The  door  hinges  are 
nothing  more  than  two  small  pieces  of 
brass,  shaped  and  located  as  shown  on 
Plate  XVI.  Two  small  brass  round-head 
screws  are  put  into  the  underside  of  the 
arch  and  down  on  the  base  moulding, 
passing  thru  the  brass  hinges  on  the  right 
hand  side.  The  windows  on  the  sides  are 
3"  by  5"  and  are  held  in  place  with  cleats 
on  the  inside. 

There  are  three  ornamental  posts  on 
the  top.  The  broken  arch  is  jointed  in 
back  of  the  center  post  and  the  grain 
should  run  diagonally.  This  clock  case 
has  three  ornamental  mahogany  urns 
which  are  placed  on  top  of  the  posts. 
Usually  they  are  made  of  brass.  The 
inlay  around  the  front  of  the  case  is 
detailed  on  Plate  XVI  and  directions  for 
setting  it  in  place  may  be  found  on  the 
pages  pertaining  to  the  card  tables,  par- 
ticularly on  page  23. 


GRANDFATHER  CLOCK 


33 


flll  d&tails  of  mouldings,  inlay,  door  and  corners 
are  drawn  ok    other  dhcet  with  cross- sect/ons  fl-B,  C-D,  E-F. 


BacK  [//ew 


"/I  Grandfather  C/oc/f'' 
from  Ho  His  ,  Maine  . 
Made  /8OQ-/Q2O. 


Front  l//ew 


PLATE  XIV 


34 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


PLATE  XV 


GRANDFATHER  CLOCK 


35 


Center  Ornament 

2  £  'High  ~  /£  "Diameter 


AND    CROSS  OeCTIONS 

T/ILL  CLOCK  r/?oM  /-ioLLisy  Me. 


PLATE  XVI 


BANJO  CLOCK 

THE  banjo  clocks  are  among  the  new  styles  which  are  attract- 
ing attention  at  present.  This  design  of  a  small  clock  case 
was  first  made  and  sold  by  the  famous  Willards  of  Boston.  There  were 
at  least  four  clock  makers  by  this  name  and  the  most  highly  prized  of 
all  banjo  clocks  are  the  ones  made  by  them.  The  first  ones  were  made 
about  1802.  Reproductions  are  made  in  quantities  now  and  in  all 
sizes,  from  the  small  2"  dials  to  the  size  of  the  one  given  on  this  drawing. 


DIRECTIONS   FOR  MAKING  THE    CASE 


Perhaps  the  wisest  thing  to  do  would 
be  to  purchase  the  movement  first.  Then 
if  any  dimensions  on  this  drawing  are  not 
suited,  slight  alterations  can  be  made 
without  affecting  the  design.  The  back 
should  be  worked  out  first.  It  is  ^" 
thick  and  about  30"  long.  Put  a  center 
line  down  thru  the  middle  of  it  and  locate 
each  part,  the  head  and  box.  Draw  the 
outline  of  the  back  which  extends  ^" 
beyond  the  case  on  all  sides  and  band-saw 
to  shape.  Construct  a  box  with  mitered 
and  spHned  corners  and  glue  in  place  on 
the  backboard.  The  head  is  made  of  two 
thick  pieces  of  mahogany  and  is  turned  on 
the  outside.  The  opening  for  the  works 
can  be  band-sawed  as  space  for  the 
pendulum  walls  must  be  cut  out.  These 
walls  pass  from  under  the  dial  bezel,  down 
thru  the  box  to  the  bottom.  The  bezel 
should  be  made  up  with  three  courses  of 
segments  to  prevent  it  from  warping 
(see  Fig.  14,  page  29).  A  hinge  on  the  right 
hand  side  and  a  catch  on  the  left  hand 
hold  it  in  place.  The  pendulum  bezel  can 
be  made  of  single  thickness  stock  with 
mitered  corners.  The  upper  ends  are  left 
longer  than  the  space  to  be  covered  so 
that  the  dial  bezel  will  hold  it.  The  box 
bezel  is  mitered  and  has  two  hinges  and  a 
clasp.  The  top  ornament  is  made  of  wood 
and  is  square.  A  small  brass  eagle  with 
outstretched  wings  is  often  found  on 
clocks  of  this  kind.  The  overhanging 
edge  of  the  back  should  be  rounded  over. 


A  BANJO  CLOCK  OF  THIS 
DESIGN  MAY  BE  MADE  TO 
SUIT  ANY  SIZE  MOVEMENT 

the  mold.  It  would  be 
for  any  molder  to  handle 
pattern  unless  it  were 


Two  brass 
scrolls  are 
placed  on 
each  side  of 
the  case,  so  it 
will  be  neces- 
sary to  make 
a  wood  pat- 
tern in  order 
to  secure  the 
castings.  The 
best  way  is  to 
make  a  full 
size  lay-out 
of  the  scroll 
on  a  piece  of 
pine  (see  Fig. 
1 6,  page  29) 
about  6" 
wide.  Cut  the 
outline  of  the 
scroll  on  pine, 
•£2"  thick  and 
glue  it  on  the 
board.  Have 
the  edges 
smooth  and 
allow  enough 
draft  so  that 
the  pattern 
will  draw 
clean  from 
a  difficult  task 
such  a  delicate 
fastened  to  a 


36 


BANJO  CLOCK 


37 


BANJO  CLOCK 

MADE  ABOU  r  jes.  o 


PLATE  XVII 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


board.  File  the  castings  smooth  and 
lacquer  with  very  thin  yellow  shellac. 
If  it  is  not  convenient  to  make  the  pat- 


terns and  castings,  wooden  scrolls  can  be 
used.  They  are  not  so  attractive  but  were 
not  uncommon  on  banjo  clocks. 


WINDSOR  CHAIRS 

WINDSOR  chairs  were  first  made  in  England.  They  were  very 
common  during  the  Colonial  days.  The  seats  were  made  of 
pine  and  the  backs  of  some  kind  of  hardwood  as  ash  or  hickory.  Quite 
a  few  furniture  dealers  can  now  furnish  reproductions  of  the  Windsor 
styles  in  mahogany  with  more  comfortable  lines  and  nicer  finish  than 
the  older  types,  which  makes  them  very  desirable.  The  directions  given 
below  are  suited  for  any  of  the  Windsor  chairs  which  are  included  in 
this  series. 


DIRECTIONS   FOR  MAKING  THE   CHAIR 


Make  the  seat  first,  locating  the  centers 
for  the  holes  where  the  legs  are  to  set  in 
place  on  the  underside. 
Use  wooden  jigs  as  illus- 
trated in  Fig.  15,  page 
29,  for  boring  the  holes 
at  the  proper  angles. 
Bevel  the  edges  of  the 
seat  and  hollow  the  top 
surface  so  that  it  looks 
and  feels  comfortable. 
Do  not  bore  the  holes 
through  the  seat  unless 
the  drawings  show  them 
that  way.  Turn  the 
legs  and  rounds  on  the 
lathe  and  attach  them 
to  the  seat.  The  rim 
for  the  fan-shaped 
backs  can  be  bent  on  a 
form  marked  out  on  a 
work-table  or  on  the 


WINDSOR  CHAIR 


floor.    Make  a  full   size   lay-out   of   the 
shape  of  the  back  and  nail  small  blocks 


every  6"  apart  to  hold  the  rim  in  place. 

Steam  or  soak  the  rim  in  hot  water  and 
place  it  in  the  form 
where  it  should  be  left 
for  at  least  36  hours. 
When  it  is  thoroughly 
dry,  remove  it  and  fit  it 
to  the  holes  on  the  seat. 
Pass theends through  to 
the  under  side  of  the 
seat  and  split  the  ends 
open  and  drive  in 
wooden  wedges.  Shape 
up  the  spindles  with  a 
spokeshave  and  bend 
on  a  form.  When  they 
are  ready,  bore  the  holes 
through  the  rim  and 
push  the  spindles  up 
through  the  holes.  Then 
place  glue  in  the  holes 
on  the  seat  and  pull  the 
into  place.  When  the 


spindles    down 

glue  is  dry,  cut  the  projecting  ends  off 


WINDSOR  CHAIRS 


PLATE  XVIII 


4o 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


so  that  they  are  even  with  the  outside  of 
the  rim.  Sandpaper  all  parts  and  paint 
the  chair  with  two  coats  of  black  enamel. 
The  small  ridges  or  grooves  on  the  legs 
and  spindles  should  be  colored  with  two 
or  more  coats  of  gilt  or  bronze  paint. 
These  finishing  directions  refer  to  the 


chair  if  pine  and  ash  are  used  in  its  con- 
struction. 

The  drawings  on  pages  39  to  42  show 
Winsor  chairs  of  varied  details.  The 
method  of  construction  is  largely  the 
same  as  described  above.  If  mahogany 
is  used,  see  page  52. 


WINDSOR  CHAIRS  WERE  USED  IN 
COLONIAL  DAYS.  THEY  ARE  AGAIN 
BECOMING  POPULAR  AND  CAN  NOW 
BE  HAD  IN  VARIOUS  DETAILS  AND 
FINISHES 


WINDSOR  CHAIRS 


41 


PLATE  XIX 


SAHTA  BARBAhA,  c«i...  .Hal 

9 


WORKING  DRAWINGS  OF  COLONIAL  FURNITURE 


PLATE  XX 


CHAIR  DETAILS 


1 7 SO 


CH/PPEND/ILE 


I7QO 


I7Q5 


H EPPLE  WHITE 


IQOO 


SHERATON 


1810 


1810 


EMPIRE 


1630 


PLATE  XXI 


HEPPLEWHITE   CHAIR 

SOME  of  the  finest  chairs  in  existence  were  made  from  the  designs 
of  Hepplewhite.  They  are  noted  for  their  fine  delicately  shaped 
outlines  with  beautiful  inlaying  and  shield-shaped  backs.  Mahogany 
is  used  and  the  seats  are  upholstered.  The  chairs  are  rather  fragile 
and  cannot  compare  with  the  Chippendale  and  Windsor  styles  for 
strength  and  durability. 


DIRECTIONS   FOR  MAKING  THE   CHAIR 


The  joints  of  the 
chair  from  the  seat 
down  are  all  mortised 
and  tenoned.  The 
back  can  be  repro- 
duced by  drawing  2" 
squares  on  a  sheet  of 
heavy  paper  and 
checking  off  the  in- 
tersections on  the 
drawing.  After  draw- 
ing the  outline,  cut  it 
out  and  use  it  for  a 
pattern.  The  back 
legs  are  extended 
above  the  seat,  mak- 
ing a  total  length  of 
not  less  than  36". 
First  one  side  is  band- 
sawed  and  then  the 
other.  Use  the  waste 


THE  HEPPLEWHITE  CHAIR  is  MARKED  BY 
THE  SHIELD-SHAPED  BACK  AND  FINE  INLAY 


the  second  cut.  The 
back  shield  is  jointed 
at  the  bottom  and  a 
piece  of  wood  W 
thick  is  fitted  into 
the  corner.  The  slats 
are  housed  into  this 
piece  and  also  to  the 
under  side  of  the  rim 
above.  Corner  blocks 
are  placed  under  the 
cushion  to  reinforce 
the  frame  of  the  chair. 
A  white  holly  line  is 
inlaid  around  the  mid- 
dle of  the  rim  and  is 
represented  by  a 
heavy  black  line  on 
the  drawing.  Cross- 
sections  at  A — B  and 
C — D  will  show  the 


pieces   to  form  a  cradle  when    making     shape  of  the  rim. 


44 


HEPPLEVVHITE  CHAIR 


45 


PLATE  XXII 


EMPIRE  CHAIR 

THE  Early   Empire   chairs   are   very  pretty   and   are   easily  dis- 
tinguished from  the  other  periods.    Sweeping  curves  and  heavier 
construction  are  some  of  the  notable  features.    Later  models  are  less 
valuable  due  to  unattractive  carvings  and  jig  saw  work  which  were 
added. 


DIRECTIONS   FOR  MAKING  THE    CHAIR 


The  back  legs  of  this  chair  can  be  made 
of  single  thickness  mahogany,  from  the 
floor  line  up  to  the  point 
marked  /  on  the  draw- 
ing. All  joints  from 
here  down  are  mortised 
and  tenoned.  The  front 
and  back  rails  are  made 
of  oak  and  band-sawed 
to  shape.  They  are  then 
veneered  with  cross- 
grained  mahogany.  Sec- 
tion C — D  shows  a 
quarter-round  piece  of 
mahogany  along  the  top 
edge  of  the  front  rail 
and  a  thin  piece  at- 
tached to  the  underside. 
A  mortise  %"  wide  and 
X"  deep,  is  cut  into 
the  back  rail  to  receive 
the  middle  panel  which 
connects  with  the  seat 


The  middle  panel  is  cut  from  a  piece  of 
burl-grained  wood   and  may  have  to  be 


WINDSOR  CHAIR 


EMPIRE  CHAIR 


frame  and  the  curved  back.  The  back 
is  mortised  to  the  back  legs  at  /  and 
has  a  veneered  surface  and  a  raised 
edge  which  can  be  glued  on  and  rounded 
over  to  the  shape  shown  in  the  section. 


steamed  or  soaked  in  hot  water  to  fit  it 
into  the  grooves.  The  cushion  is  remov- 
able and  is  covered  with  chintz.  The 
frame  of  the  cushion  is  made  of  oak  and 
rests  on  the  front  and  back  rails. 


EMPIRE  CHAIR 


47 


PLATE  XXIII 


COLONIAL  LOOKING  GLASS 


THIS  is  one  of  the  styles  which  can  be  associated  with  the  Chip- 
pendale  and    Hepplewhite   periods.     The   frames  are    made  of 
mahogany  and  are  often  embellished  with  gilt  work  around  the  scrolls. 
The  sizes  vary  a  great  deal.   Most  of  them  are  about  one-third  as  large 
as  this  one. 

DIRECTIONS   FOR  MAKING  THE 
FRAME 

Make  a  mahogany  frame  of  stock  which 
is  24"  thick  and  \%"  wide.  Cut  some 
cross-grained  wood  on  the  circular  saw  y£" 
thick,  6"  wide  and  i"  long,  and  glue  it  to 
the  face  of  the  frame,  mitering  the  corners. 
Take  a  piece  of  cardboard  and  mark  it  off 
in  2-^"  squares.  Copy  the  scroll  for  the 
top,  sides  and  base  of  the  frame  and  cut 
the  outline.  Use  burl-grained  wood  f" 
thick  and  dowel  and  glue  it  to  the  frame. 
The  grain  of  the  side  pieces  should  run  in 
the  same  direction  as  the  top  piece.  When 
the  glue  is  dry,  place  the  card-board 
patterns  on  the  wood  and  mark  the  out- 
line. Take  the  frame  to  the  band-saw  and 
cut  close  to  the  lines.  Smooth  up  the 
edges,  round  over  the  arrises  of  the  frame 
and  the  project  is  ready  for  staining  and 
finishing. 

A  very  neat  little  frame  can  be  made  from  the  same  design  by  planning  to  use 
a  mirror  measuring  7"  x  11". 


COLONIAL  LOOKING  GLA 


48 


COLONIAL  LOOKING  GLASS 


CQLON//IL.  LOOKING-GLASS 
MADE  ABOUT  /?jo. 


PLATE  XXIV 


OLD   FASHIONED  MIRROR 


THIS  is  a  style  which  developed  during  the  Empire  period  and  is  a 
great  favorite  today.  Students  beginning  wood-turning  will 
find  this  project  a  good  application  of  some  of  the  exercise  models 
which  are  usually  made.  The  finish  is  quite  an  important  feature  and 
calls  for  gold  leaf,  but  for  a  school  project  a  fairly  good  substitute  is  a 
bronze  or  gilt  paint. 

DIRECTIONS   FOR  MAKING  THE  FRAME 

Fig.  II,  page  29)  at  the  ends  and  at  one 
spot  near  the  middle.  Locate  the  exact 
centers  of  the  joints  on  both  ends  and 
place  the  piece  in  the  lathe.  Turn  down 
the  wood  to  the  right  shape  as  though  it 
were  a  solid  piece  of  wood.  Sandpaper  as 
smooth  as  possible  and  then  remove  the 
wood  from  the  lathe.  With  a  thin  bladed 
knife,  pry  the  two  pieces  apart  and  then 
fit  each  piece  to  the  sides  of  the  frame. 
The  spindles  for  the  top  and  bottom  are 
made  in  the  same  way. 

Parts  of  the  frame  are  finished  in  gold 
and  the  rest  in  black.  These  places  are  so 
noted  on  the  drawing.  Put  about  a 
teaspoon  of  lampblack  into  a  cup  of 
orange  or  yellow  shellac.  Stir  thoroly  and 
apply  a  little  on  a  clean  piece  of  pine.  If 
the  color  is  not  a  jet  black,  add  more 
lampblack.  It  will  take  at  least  two  coats 
to  make  the  frame  look  right.  The  corner 
blocks  are  gilded  on  the  top  surface  if 
there  are  no  rosettes,  and  black  along  the 
edges.  The  rest  of  the  frame  is  gilded. 

The  old  mirrors  generally  had  colored 
pictures  placed  in  the  upper  space  and 
were  painted  directly  on  the  glass.  Colo- 
nial scenes  were  the  most  common.  A 
colored  picture  of  Mt.  Vernon  will  look 
very  well  in  this  frame  and  can  be  placed 
behind  clear  glass. 


This   frame    is    made   like    any   other 
picture  frame,  with  or  without   mitered 

corners  as      

the  blocks 
will  cover 
and  lock 
thejoints. 
The  parti- 
tion strip 
across  the 
frame 
must  be 
rabbeted 
on  both 
edges  to 
i  nclud  e 
the  pic- 
ture and 
the  mir- 
ror. The 
original 
frame  has 


OLD  FASHIONED  MIRROR 


small  stamped  brass  rosettes  tacked  to 
the  corner  blocks,  but  if  they  cannot  be 
made  or  obtained,  each  block  can  be  put 
on  a  face-plate  in  the  lathe  and  turned. 

The  half-round  spindles  on  the  sides 
and  ends  of  the  frame  are  made  in  the 
lathe.  For  the  long  pieces,  take  two 
pieces  of  pine  W*  i>£"  and  at  least  24" 
long.  Glue  or  fasten  them  together  (see 


OLD  FASHIONED  MIRROR 


OLD  FASHIONED  MIRROR 


Old  fash/oncd  picture  is 
painted  on  glass.  Coton/ol 
scenes  mosf  common. 


PLATE  XXV 


WOOD  FINISHING 

THE  author  considers  it  expedient  to  say  a  few  words  about  the 
finishing  of  the  reproductions  which  may  be  made  from  the 
drawings,  more  especially  because  much  of  the  mahogany  sold  is  com- 
mercially known  as  baywood.  The  mahogany  antique  pieces  which 
were  measured  are  made  of  San  Domingo  mahogany  and  because  of 
its  deep  reddish  natural  color  does  not  require  any  staining.  Baywood 
on  the  other  hand,  is  likely  to  be  a  pale  brown  color,  and  while 
not  as  desirable,  it  can  be  stained  and  finished  to  look  very  well.  The 
outlined  methods  may  not  be  in  accordance  with  the  best  practices 
of  the  finishing  room,  but  will  serve  for  school  shop  purposes.  They 
are  based  on  observations  made  in  antique  shops  where  old  fashioned 
pieces  were  being  restored  and  thru  experiments  and  results  of  making 
reproductions  from  these  drawings  by  students. 


FINISHING 


1.  Sandpaper  all  parts  smooth. 

2.  Apply  one  coat  potassium  bichro- 
mate solution. 

3.  Apply  second  coat  if  needed. 

4.  Sandpaper  very  lightly. 

5.  Shellac    inlay    lines    and    borders. 
Use  white  shellac. 

6.  Apply  one  coat  of  dark  mahogany 
oil  stain. 

7.  Apply  six  or  more  coats  of  very  thin 
orange  shellac.   Rub  each  coat  down  with 


pumic  stone  and  oil.  Rub  last  coat  with 
rotten  stone  and  oil.  Use  no  varnish  on 
any  of  these  projects. 

Potassium  bichromate  solution:  Dis- 
solve ^  oz.  of  potassium  bichromate  in 
one  pint  of  hot  water.  Use  cold,  and  test 
on  piece  of  scrap  wood.  When  dry,  the 
color  of  the  wood  will  show  a  dull  cocoa 
brown.  A  weak  solution  will  not  discolor 
the  inlay.  The  latter  should  be  carefully 
shellacked,  however,  before  the  stain  is 
applied. 


52 


INDEX 


Page 

Page 

A 

I 

Arch,  broken  

32 

Inlay  11,14,15,18,20,21,22,23 

B 

J 

Bands,  ebony  

14,  20 

Jigs,  wooden  

38 

Base,  tripod  

18 

Bevel,  concave  

22 

K 

Bezel,  clock  

36,37 

Knob,  wooden  

12 

Bonnet,  for  tall  clock  

31,32,34 

Knurls  

II 

Brackets,  wooden  

14 

Brass  

22,28,32 

L 

Lampblack  , 

50 

C 

Lay-out 

Catch,  spring  

19 

for  tavern  table  

16 

Cauls,  wooden  

12 

for  banjo  clock  , 

36 

Chairs  

38,44,46 

for  Windsor  chair  

38 

Bannister  back  

6 

Leaves,  table  

7 

Empire  

46,47 

Hepplewhite  

44.45 

M 

Windsor  
Chippendale,  designs  
Clockmakers  
Clocks,  Tall  or  Grandfather 

38,39,40,41,42 
28,43 
31,36 
31,36 

Mahogany  7,10,  12,  14,  18,20,24,26, 
Maple  7,11,13,  15,22, 
Marking  gage 
used  in  inlaying  

32,46,48 
26,  27,  31 

...14,22 

Banjo  

36,37 

used  in  scoring  

18 

Colonial  Days  
Colonial  Looking  Glass  
Columns,  round  

18,38,40 
48,49 
32 

Marquetry  
Mirrors,  old  fashioned  48, 
Mouldings  

26 
49,  50,  51 

32 

Compartments  

20,21,24 

Mt.  Vernon,  picture  of  

50 

D 

0 

Details  

29 

Oak  

—      7 

Dividers,  use  of  

18 

Ornaments, 

Dovetails  

18,20,22 

for  banjo  clock  

....    36 

Drawers  

7,12,20,21 

for  clock  bonnet  

•  •  •  •    35 

Drawer  pulls  

28 

P 

E 

Panels  

12 

Ebony  

14,  15,   19,  21 

Pattern,  wood,  for  brass  scrolls  

36 

Edges,  beaded  

7 

Pedestal,  for  tables  

18,20,26 

English  clocks  

3i 

Penn,  William  

7 

Pins,  wooden  

.  .  .17,18 

F 

Pine  7, 

12,  14,22 

Feet,  for  tables  

20,26 

Poplar  

....      7 

File,  used  in  inlaying  

14 

Pulls,  drawer  

.7,  12,28 

Finishing,  wood  

7,16,40,50,52 

R 

G 

Reproductions,  of  furniture  7, 

IO,  12,  l6 

Gates  :  

7 

Router   

....    26 

Gouges  

32 

Grain,  of  wood  

18,21 

S 

Gumwood  

7 

Satinwood  

12,23,26 

Segments  

....  36 

H 

Shellac,  black  

14 

Handles,  specimens  of  

28 

orange  

50 

Hinges,  metal  7, 

12,14,22,23,25,26,36 

white  

38,  50,  52 

wooden  
Hepplewhite  

14,15,22,29 
10,  14,20,22,28,43,44 

Sheraton  
Snake-foot,  for  table  construction  

.<>,*»,« 

Holly,  white  

14,15,19,26 

Spindles  

....   50 

54 

Spur,  of  marking  gage 

Standard,  for  table 

Steel,  points  for  reeding 

Steel-square 

Stock,  five-ply 

Straight-edge,  used  in  reeding 
Styles,  Period 


INDEX 

Page 

.14,22  Tables,  Sheraton  Breakfast. 

. .     26  Sheraton  Card 

.  .      IO  Sheraton  Work 

7  Tavern 

.  .     20       Tapers 

10 

'•     43      v  V 

Veneers 


w 


Tables,  Empire  Card  
Gate-leg 

II, 
6 

24,25 

789 

Walnut  

Hepplewhite  Card  
Hepplewhite  Work  
Mahogany  Tea  
Mahogany  Tip-top  

22,23 

20,21 
18,19 
26,27 

War,  Revolutionary. 
Wood  finishing  
Wood-turning  
Works,  wooden  clock 

Page 

14,15 

IO,  II 

12,13 

7,16,17 

.14,15,22,25 


.  .12,  14,22,25 


7,49 

3i 

52 

50 

31 


Books  for  the  Furniture  Maker's  Library 

Design  and  Construction  in  Wood 

By  WILLIAM  No  YES,  Formerly  Assistant  Professor,  Department  of  Industrial  Arts, 

Teachers'  College,  Columbia  University,  New  York  City. 

A  charming  book  giving  due  consideration  to  the  esthetic  side  of  wood-working.  The  book 
illustrates  a  series  of  simple,  attractive  articles  of  furniture  and  tells  about  their  construc- 
tion. A  pleasing  volume  for  those  interested  in  good  design  and  skillful  workmanship. 
Well  and  abundantly  illustrated. 

Handwork  in  Wood 

By  WILLIAM  NOYES,  Formerly  Assistant  Professor,  Department  of  Industrial  Arts, 

Teachers'  College,  Columbia  University,  New  York  City. 

A  handbook  for  teachers  and  a  textbook  for  normal  school  and  college  students.  A  compre- 
hensive and  scholarly  treatise,  covering  logging,  sawmilling,  seasoning  and  measuring,  hand 
tools,  wood  fastenings,  equipment  and  care  of  the  shop,  the  common  joints,  types  of  wood 
structures,  principles  of  joinery,  and  wood  finishing.  304  illustrations — excellent  pen  draw- 
ings and  many  photographs. 

Woodwork  for  Secondary  Schools 

By  IRA  S.  GRIFFITH,  Professor  of  Industrial  Education,  University  of  Wisconsin. 
The  most  complete  and  comprehensive  textbook  on  secondary  school  woodworking  ever 
published.  Treats  of  Common  Woods,  Tools  and  Processes,  Woodworking  Machines, 
Joinery,  Wood-Turning,  Inlaying  and  Wood  Carving,  Wood  Finishing,  Furniture  Construc- 
tion, Pattern  Making.  Although  written  for  the  student,  every  teacher  of  high  school  or 
normal  school  woodwork  will  find  this  text  a  valuable  and  necessary  volume  for  reference 
use.  It  contains  370  pages  and  580  special  illustrations. 

Art  and  Education  in  Wood  Turning 

By  W.  W.  KLENKE,  Instructor  in  Woodworking  and  Architectural  Drawing,  Central 
Commercial  and  Manual  Training  High  School,  Newark,  New  Jersey. 

This  book  is  intended  primarily  for  the  use  of  students  in  normal  schools,  high  schools,  col- 
leges or  similar  institutions  and  for  lovers  of  all  things  useful  and  beautiful  in  wood-turning. 
It  is  a  textbook  and  problem  book  combined.  It  indicates  how  the  principles  of  design 
should  be  applied  in  wood-turning  and  the  problems  embody  these  principles. 

Furniture  Upholstery  for  Schools 

By  EMIL  A.  JOHNSON,  Assistant  Professor  of  Manual  Arts,  Bradley  Polytechnic 

Institute. 

The  only  text  and  reference  book  on  upholstery  written  for  school  use.  Contains  detailed, 
practical  instructions  telling  how  to  upholster  a  variety  of  articles,  also  how  to  upholster  old 
furniture  and  how  to  do  spring-edge  upholstery  work.  Describes  necessary  tools  and 
materials.  Abundantly  and  beautifully  illustrated. 

Seat  Weaving 

By  L.  DAY  PERRY. 

A  handbook  for  teacher  or  student.  Tells  how  to  cane  chairs,  how  to  use  cane  webbing, 
how  to  do  rush  seating,  how  to  do  reed  and  splint  weaving,  how  to  make  seats  of  reeds  and 
splints,  how  to  prepare  raw  materials,  how  to  stain,  finish,  and  refinish,  etc.  Also  treats  of 
the  use  of  cane  and  other  seating  materials  as  a  decorative  element  in  furniture  construction. 
Well  illustrated,  practical  and  authoritative. 

Ask  for  a  Copy  of  Our  Descriptive  Catalog 

THE   MANUAL   ARTS   PRESS,   Peoria,  Illinois 


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THE  LIBRARY 
UNIVERSITY  OF  CALIFORNIA 

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THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAGED  BELOW. 


II   I II 1 1  I  II 


3  1 205  00443  4286 


A     000  579  355     9 


TT 


20669 


